This article will feature a visual library of the NC Essential Brush Set. There will be a description of the various marks and how they were made to serve as a guided resource.
The essential brush set is great for any beginner or anyone wanting to refresh their current brush inventory with new high quality and soft synthetic bristles. These brushes are well weighted and rest nicely in the hand while offering good paint load capacity and excellent construction.
The paint used is Nova Color’s 109 Carbon Black. This paint is of medium bodied viscosity. Occasionally this will be mixed with Nova Color’s 206 Gloss Medium and Varnish to loosen the viscosity and make it more fluid.
When the 206 Gloss Medium is being used, I’ll include a note to show the difference. **
Round Brushes
Are best at creating smooth swooping marks with delicate points. Below are a few examples of marks and strokes this type of brush can make.
ROUND Size 2
The first here at the top left are short strokes that are pulled towards and then pushed away from the artist.
[endif]
The next ones just to the right show the brush with moderate pressure being pulled to the right, then different pressures down below. The lighter the pressure, the thinner the stroke is.
[endif]
The next to the right shows the way the bush can curve as well as the amount of paint load the brush can hold on a continuous curved stroke.
[endif]
Below are two continuous strokes, made with similar pressures but different paint viscosities. 206 is used on the bottom stroke. **
Beneath these two are more strokes that focus on various parts of the brush with more emphasis and a heavier load. These are also mixed with 206. ** For example, this mark focuses on heavy pressure that is removed quickly as the stroke is made.
[endif]
This one is for full pressure on the brush but spinning it to make a perfect circle. Over time this will damage the bristles, so perform with caution. Done here to show as example. [endif]
Here are some examples of various textures you can achieve using different pressure on the brush with varying paint loads. Some are made with and without 206 being mixed in.
Here are some examples of dry brushing texture. (or having just a little bit of paint on the brush)
[endif]
Here are all of the brush marks together so you can compare the sizes of the marks next to each other.
[endif]
ROUND Size 6
The size 6 round brush has a similar effect to the size 2 but can load more paint into the bristles as well as make larger marks that can vary in size more than the 2 round brush.
The first here at the top left are short strokes that are pulled towards and then pushed away from the artist.
[endif]
The next ones just to the right show the brush with moderate pressure being pulled to the right, then different pressures down below. The lighter the pressure, the thinner the stroke is.
[endif]
The next to the right shows the way the bush can curve as well as the amount of paint load the brush can hold on a continuous curved stroke.
Beneath these two are more strokes that focus on various parts of the brush with more emphasis and a heavier load. These are also mixed with 206. ** For example, this mark focuses on heavy pressure that is removed quickly as the stroke is made.
This one is for full pressure on the brush but spinning it to make a perfect circle. Over time this will damage the bristles, so perform with caution. Done here to show as an example.
Here are some examples of various textures you can achieve using different pressure on the brush with varying paint loads. Some are made with and without 206 being mixed in. While others focus on dry brushing.
Here are all of the brush marks together so you can compare the sizes of the marks next to each other.
Flat Brushes
Are best at creating a ‘carved’ look. Sharper angles and neater lines. Below are a few examples of marks and strokes this type of brush can make.
FLAT Size 4
The first here at the top left are short strokes that are pushed away from and then pulled towards the artist. This uses the thinnest side of the brush.
[endif]
The next ones just to the right show the brush with moderate pressure being pulled to the right with the broad side of the brush, then the thinner side of the brush.
Here are short strokes that are pushed away from the artist and then pulled towards them. This uses the widest side of the brush.
[endif]
The next to the right shows the various ways the bush can make a curved stroke. Notice the bristles fan out more than the round brush.
[endif]
Here are some examples of various textures you can achieve using different pressure of the brush, different sides, and with varying paint loads. Some are made with and without 206 being mixed in. While others focus on dry brushing.
Here are all of the brush marks together so you can compare the sizes of the marks next to each other.
[endif]
FLAT Size 8
The first here at the top left are short strokes that are pushed away from and then pulled towards the artist. This uses the thinnest side of the brush.
[endif]
The next ones just to the right show the brush with moderate pressure being pulled to the right with the broad side of the brush, then the thinner side of the brush.
Here are short strokes that are pushed away from the artist and then pulled towards them. This uses the widest side of the brush.
[endif]
The next to the right shows the various ways the bush can make a curved stroke. Notice the bristles fan out more than the round brush.
Here are some examples of various textures you can achieve using different pressure of the brush, different sides, and with varying paint loads. Some are made with and without 206 being mixed in. While others focus on dry brushing.
[endif]
Here are all of the brush marks together so you can compare the sizes of the marks next to each other.
FLAT Size 10
The flat size 10 is the largest brush in the set and holds the most paint and can make the most gestural of all the brushes as well.
The first here at the top left are short strokes that are pushed away from and then pulled towards the artist. This uses the thinnest side of the brush.
[endif]
The next ones just to the right show the brush with moderate pressure being pulled to the right with the broad side of the brush, then the thinner side of the brush.
Here are short strokes that are pushed away from the artist and then pulled towards them. This uses the widest side of the brush.
[endif]
The next to the right shows the various ways the bush can make a curved stroke.
[endif]
Here are some examples of various textures you can achieve using different pressure of the brush, different sides, and with varying paint loads. Some are made with and without 206 being mixed in. While others focus on dry brushing.
Here are all of the brush marks together so you can compare the sizes of the marks next to each other.
Painting Example
Used only black paint as an example to show how you can create depth and various types of textures even when limited to only one color. This painting was made only using Nova Color’s Essential Brush Set and Nova Color’s 109 Carbon Black.
Here we’ve explored how these five brushes can create a wide variety of marks and strokes. This understanding of your tools and writing down descriptions will only help you make better decisions for your work.
